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By integrating Levi Strauss’ concept of ‘bricolage’ (Tristes Tropiques, 1955) into hip-hop, the early duet comprised of Alan Folkroe and Ghammehuche cast the first stone of what will soon become the surrealistic castle randomly named Satanicpornocultshop in 1997.

The first Satanicpornocultshop album voluptuously titled ‘Nirvana or Lunch ?’ released on their own label NuNuLaxNulan in 1998, was followed by a series of participations in various compilations: Trip Trap, LD&K, Subject, etc. Art of confusion already prevailing in their work, their third opus ‘Baltimore 72’ (1999) was released before their second one ‘Belle Excentrique’ (2000). Since then, the gangrenous music of Satanicpornocultshop kept spreading over sick developped countries by using the saturated communication networks and mastering the art of satire and remixes.

Second act of Satanicpornocultshop story opens with the sudden and symbolic death of Alan Folkroe in 2001. As Ghammehuche could not be left alone with his steep schizophrenia and creative delirium, fellow members boarded the demonic vessel within a few months: Meu-Meu and his dubious performance style, *es the mixing master with nerves of steel, Vinylman turntable-ing with attitude and Ugh overusing electronics and puking MC skills. All together, they slownly moved Satanicpornocultshop from distorted and perverted collage territories to accumulation of sound layers pierced by one single beat, futuristic hiphop and eroticization of sounds, ‘erotronica’.

The holdall of Dada is conveniently used by music critics, but the main players still think that the more accurate word of ‘bricolage’ defined best their work. Satanicpornocultshop influences and productions are not limited to music and sounds, they are boiling over the borders of art, spilling over ideas and images with a unique and grandiose disrespect.

In the end of 2001, Satanicporncultshop are invited to perform at the peak time glory of the Batofar club in Paris, first collaboration is opened with the label Sonore with their participartion on the ‘Batofar Cherche Tokyo’ CD compilation. The first Tour de France is organized for Satanicpornocultshop, mesmerizing an incredulous audience with absurd performances. The next year 2002, their fourth and glossily produced album ‘Ugh Yoing’ is released on NuNuLaxNulan.

Lisa from the band La Bossa, hidden voice from Satanicpornocultshop, joined the gang officially in 2003 for the release of their fifth album ‘Anorexia Gas Balloon’ on Sonore. International listeners are getting aware of Satanicpornocultshop phenomenom, ‘Anorexia Gas Balloon’ get reviews and airplay in Japan, Europe, US and Canada. The very same year, their killing cover of The Velvet Underground’s ‘Candy Says’ appears onto the UK Wire magazine compilation Wire Tapper 10 and they participate to the ‘Music for Babies’ project from D*I*R*T*Y website in France.

A year long strenuous work is necessary to release their rich and complex ‘Zap Meemees’ 6th album on Sonore in 2005. Like a twin, a lighter, pop and instantaneous 7th album ‘Orochi Under the Straight Edge Leaves’ bloomed on the Polish Vivo label the same year. What other band could release a pop album on an indus/gothic Polish label? A Satanicpornocultshop tour de force!

They do their first European tour (Netherlands, Denmark, Czech Republic, Italy and France) in the end of 2005 with a climax on Prague’s Alternativa festival in front of 800 enthousiastic and frenetic people. At the end of this successful tour Meu-Meu split the band leaving Lisa, *es, Vinylman and Ugh with a sore note.

2006 is definitely opening the third act of Satanicpornocultshop. First they participate to the thematic Italian fashion magazine Uovo providing a track for their ‘Pink’ compilation. Then the album ‘Zap Meemees’ is nominated in the Research of the electronic music Qwartz Awards in France. Two new members join the band : MC Frosen Pine with his unique mimic rhyme style, and the magic organist Nakagawa aka Liftman.

Hyperactive with schizophrenic tendencies, Satoru Wono plays with the extremes and has fun blurring the tracks. Swimming against the tide of fashion and movements, he lays claim to the status of an “old-style” composer, although he uses the latest tools to push back creative limits. Without falling into the conceptual trap, his music speaks to the mind as well as the body. With hypnotic cells and rhythmic decortications, Satoru Wono explores the crossover paths that lead to trance.

Satoru Wono was born in 1964 and currently lives in Tokyo. A great lover of Hollywood films in his youth, he was enamored with their soundtracks. When, at university, he discovered that they were to a great extent inspired by the music of the late Nineteenth and early Twentieth Centuries, he threw himself into studying classical composition. However, in the Eighties in Tokyo, there was a passion for new electronic music and the young Satoru, who was becoming more and more interested in samplers, digital sequencers and other computer devices, spent his nights in the city’s coolest clubs.

In 1987, he was awarded a composition prize by the Association for Contemporary Japanese Music and started his career as a composer. After several years working in experimental music, he brought our Sweet Science and El Niño, a fusion of electronic music and Latin pop. Alongside this, he continued his research into experimental and electro-acoustic music in Sauvage and Sonata for Sine Wave and White Noise. An associate professor of the Faculty of Plastic Arts at the University of Tama (Tokyo), he teaches music and film and is the author of several works on music and technology.

A composer, DJ, author and critic, producer and arranger… it is by trawling through the abundant diversity of works that he is able to compose or produce something that shows just what he is capable of. By wearing more than one set of headphones, Satoru retains an atypical approach and a personal reflection regarding his work.

Satoru likes to recycle and integrate into his own pieces sounds that are usually used in other forms of music. Although fashioned extremely precisely, his works are nevertheless terribly jubilatory. Essential to the Japanese avant-garde scene, he is also the musical director of Maywa Denki.

Like a fragile dancer who would like to invoke a demon, Chikanari Shukuka abandons the forms of classical contemporary choreography for a mythical trance and reinvents a bacchanal with hints of gothic, against a rhythm of heavy sonorous footsteps and sensual glossolalia.

Chikanari Shukuka was born in the 60s of a tea ceremony teacher who certainly help her taste for solemnity. In the 90s she starts painting. Abstract and seemingly unhindered, her compositions are executed after having meticulously painted the background color. The painting is quick and focused, the result of a resoluteness that pervades in her present day dancing style.

The urge to dance came to her in a very brutal way. A personal drama in the late 90s left her defenseless and almost unable to move. Chikanari's body literally took over her conscience to free her from the spiraling breakdown and expressed an irrepressible need to move. She attended butoh legend Kazuo Ohno's workshop where concentration and reappropriation of her body let her step away from the shell-shock and resurface.

In 2003 she answers an advert on the internet from laptop artist Marqido who is then looking for a visual accompaniment to his first unit. Joined by singer Atsushi Kinoshita they focus exclusively on live performances and for one year experiment a fusion of sound and dance before splitting up. This experience nourished Chikanari's interest in sound and she then challenges herself to perform alone producing the music accompanying her dance herself.

In fact, when she performs today as Chikanari Shukuka Solo music is in no measure a mere accompaniment, it is inextricably bonded to the dance, and both are at the same time origin and outcome. Although the set-up is ever changing, she usually uses a hi-hat cymbal, little bells which are attached to her wrists, a mic, effector and rhythm machine. As natural as breathing, dance is in each of her movements, whether rolling the cymbal with the tip of her fingers, jumping across the stage or graciously disentangling the mic cable curled up around her legs. Despite the class she attended with Ohno's workshop her style is very much self-taught, fusing elements of flamenco, theatre or gymnastics. Despite these reference points the audience faces a show without any true precursor, overcome by an unexplainable inconvenience only amplified by the performance's discipline and resoluteness. Rather than a dance, it is more some kind of personal exorcism ceremony, a choreographed self-analysis session which basic elements are the body and sound.

Every performance (she does around 50 shows a year) is improvised, beat by jerky and rather simple movements that seem to bear an extraordinary but elusive meaning. She swings the mic in the air before hitting it on the cymbal, unleashing howls and hisses swirling in space like the arms of an octopus, before whispering with her ghostly voice, a siren's call addressed to no one. For what makes these performances so unique is the striking paradox between the complete charm under which the audience is immediately cast, and the sense that Chikanari Shukuka dances essentially for herself.